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Music communication is a broad field of activity. It includes concerts and introductions, interactive formats and media communication forms such as radio features and apps.

In addition to school, many children and teenagers would like to learn an instrument or make music in an ensemble. There is a wide range of opportunities for this.

Music on the radio plays a central role in everyday life for most Germans. They can benefit from the versatile service of the public broadcasters as well as from private offerings.

Millions of people attend music theatre performances in Germany every year. Half of the over 11,000 events are opera performances, followed by dance, musicals and operettas.

Germany’s jazz scene has an extremely wide range of styles and institutions. With its players and artistic results, the scene can present itself with confidence.

Holger Noltze discusses how the availability of musical art on the internet is changing the modes of aesthetic perception and argues for a curation of digital offerings.

IAMIC, an international network of music information centres, has existed since 1986. John Davis, former IAMIC Vice President, gives an overview of the development and goals of the organisation.

Musical taste is linked to generational affiliation. Pop is currently the most popular genre, while there are indications of a declining trend in classical music.

The infrastructure of contemporary music in Germany is remarkable in its diversity. Numerous ensembles, organisers, media and promoters have specialised in this area.

Music allows churches to function as musical bridges into many areas of human culture, making church music an important element in society.

Between a niche and a global market: Germany has developed a multi-faceted and highly visible scene for world music.

The music economy is a major part of Germany’s cultural and creative economy as a whole. It subsectors include music teaching, musical instrument making and live concerts.